LG Reveals Its First-ever 4K HDR, Compact and Affordable Home Cinema Projector

 Cinematography  Comments Off on LG Reveals Its First-ever 4K HDR, Compact and Affordable Home Cinema Projector
Jan 142018
 

At CES 2018, LG wants to hit the jackpot. Armed with its new invention to enhance the home cinema experience, LG has just announced the HU80KA projector, its first 4K UHD model designed to deliver ultra-sharp video in a compact, beautiful design.

As stated by Tim Alessi, head of product marketing at LG Electronics USA: “LG’s first-ever 4K UHD projector represents the pinnacle of innovation in the portable entertainment market… Offering superb brightness coupled with a design that offers true versatility, the new HU80KA will lead the way in changing how consumers enjoy 4K content in their home and on the go.”

150-inch screen, 2,500 lumens and HDR

The HU80KA projector has the potential to deliver a 150-inch screen projection with 2,500 lumens, making it LG’s brightest projector. Furthermore, it supports HDR content (HDR 10).

Regarding sound, external speakers can be connected via optical output, HDMI or wirelessly through Bluetooth for enhanced audio performance.

As stated by Tim Alessi, head of product marketing at LG Electronics USA: “LG’s first-ever 4K UHD projector represents the pinnacle of innovation in the portable entertainment market… Offering superb brightness coupled with a design that offers true versatility, the new HU80KA will lead the way in changing how consumers enjoy 4K content in their home and on the go.”

150-inch screen, 2,500 lumens and HDR

The HU80KA projector has the potential to deliver a 150-inch screen projection with 2,500 lumens, making it LG’s brightest projector. Furthermore, it supports HDR content (HDR 10).

Regarding sound, external speakers can be connected via optical output, HDMI or wirelessly through Bluetooth for enhanced audio performance.

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Panasonic GH5S Video Hands-On – Highlights of the New Camera

 Gear  Comments Off on Panasonic GH5S Video Hands-On – Highlights of the New Camera
Jan 142018
 

The wait is over. Panasonic just announced their new flagship video-orientated mirrorless photo camera, the GH5S. Watch our GH5S Video Hands-on above! (And the Mini Documentary I’ve shot with that new camera) Promising to perform (much) better than its predecessor in low-light, the new camera was also designed to compete with Sony’s a7S series. Is it up to the task? In our opinion: YES! 

Before we get started:
Stay tuned to our continuous coverage of the new Panasonic GH5S. A short review and original footage is coming up today too. Tomorrow, please look out for Nino’s lowlight test/review video and on top, our exclusive interview with Yamane-san – head of Panasonic imaging division – where we ask the questions that deserve answers. Only on cinema5D.com!  

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DJI Reveals New Handheld Stabilizers at CES 2018 – Osmo Mobile 2 and Ronin-S

 Gear  Comments Off on DJI Reveals New Handheld Stabilizers at CES 2018 – Osmo Mobile 2 and Ronin-S
Jan 072018
 

DJI is aiming straight at the mobile & DSLR/mirrorless market with two new single-handed stabilizers. Meet Osmo Mobile 2 and Ronin-S, both of which will be presented at CES 2018 in Las Vegas.

Osmo Mobile 2 – an improved handheld smartphone camera stabilizer

The Osmo Mobile 2 has a lightweight design, a built-in three-axis gimbal and supports pivoting between landscape and portrait orientation (by the two-way mobile clamp). DJI’s SmoothTrack technology detects how you are moving the camera and compensates, so it becomes a smoother, more “cinematic” shot. On top of that, user experience has been improved and all the controls where simplified, DJI claims it’s now more similar to operating “a professional camera”.

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Sony Announces New E 18-135mm F3.5-5.6 APS-C Lens ahead of CES 2018

 Cinematography, Gear  Comments Off on Sony Announces New E 18-135mm F3.5-5.6 APS-C Lens ahead of CES 2018
Jan 072018
 

Sony E 18-135mm F3.5-5.6 for APS-C cameras has just been announced a few days ahead of CES in Las Vegas. It’s their 46th E-Mount lens. They also released a silver version of the a6300 camera.

The new Sony E 18-135mm F3.5-5.6 OSS E-mount lens includes a functional wide to telephoto focal range of 18-135mm, as well as an aperture range of F3.5-5.6, making this lens versatile whether you are filming indoors or outdoors. The lens auto focus features a linear motor, for fast and quiet operation. This could make for impressive auto focus tracking performance for video, when paired with the Sony a6500 for example, which is already known for its great video auto focus.

The lens features Sony’s powerful OSS or ‘Optical SteadyShot’ image stabilization which will aid in achieving steady and crisp images while shooting hand held, or in lower light scenarios. For improved optical performance, the lens also includes two extra-low dispersion elements and one aspherical lens which will reduce chromatic aberration.

Weighing only 325g, the lens and camera combination is ideal for those that like a lightweight and compact setup, whether that is for traveling, street work, or on a hand held gimbal.

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AXIOM Open-Source Cinema Camera Unveils New Design and Recording solutions

 Gear  Comments Off on AXIOM Open-Source Cinema Camera Unveils New Design and Recording solutions
Dec 102017
 

Apertus has unveiled new major updates regarding technological and design solutions for AXIOM, the world’s first open-hardware and open-software cinema camera. Read on to learn more about this fascinating camera. 

 

AXIOM

Backed by a team of experts from a large swathe of technological and artistic fields (developers, filmmakers, engineers and artists), the apertus° project is stepping forward to the next level of manufacturing and delivering of the AXIOM camera.

cinema5D has been following the progression of this ambitious project from its beginnings, and it is indeed fascinating to see this open-source camera taking shape. It’s actually finally starting to look like a cinema camera!

AXIOM camera main features:

– 4K resolution

– Super35 sensor

– Global shutter

– Up to 15 stops dynamic range

– Up to 300 fps

– 12 bit

– Target price well below $10,000

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Going Doc-Style with the Blackmagic URSA Mini Pro on Robbie Williams’ Europe Tour

 Uncategorized  Comments Off on Going Doc-Style with the Blackmagic URSA Mini Pro on Robbie Williams’ Europe Tour
Nov 282017
 

Many filmmakers, including myself are hesitant about using the Blackmagic URSA Mini Pro and URSA Mini 4.6K cameras in documentary environments, but James Tonkin of Hangman proves us wrong, taking the URSA cameras into the battlefield of Robbie William’s European Tour 2017.

James Tonik’s URSA Mini Pro with a Letus gimbal and remote focus rig

James Tonkin was recently tasked to document Williams’ 2017 European tour in its entirety. From rehearsals through to live shows, to the all-important backstage moments with Robbie Williams, Tonkin’s primary camera choices were the Blackmagic URSA Mini Pro and URSA Mini 4.6K as well as the RED Weapon. For some run and gun filmmakers this might not be the first choice of camera systems when it comes to filming documentaries. In comparison to others, they have drawbacks in lowlight situations and handling. But from a quality standpoint the choice certainly makes sense, if one can make them work documentary style – and Tonkin did.

With a relationship spanning 16 years, Tonkin already had a unique understanding of when and where to capture the tours most potent moments. Furthermore preparation ahead of the tour alongside an understanding of the end goal was imperative for delivering a high-quality production that would meet the brief.

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The Steadicam Volt Smartphone Stabilizer is Now Shipping

 Gear  Comments Off on The Steadicam Volt Smartphone Stabilizer is Now Shipping
Nov 282017
 

We first reported about this product back in January 2017 upon launch of the Kickstarter campaign. The Steadicam Volt was developed by the Tiffen company, a pioneer in the camera stabilizing business, with its line of Steadicam stabilisers now a staple of the industry.

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SmallHD Firmware OS3 Adds Auto Calibration And Custom False Color

 Technique  Comments Off on SmallHD Firmware OS3 Adds Auto Calibration And Custom False Color
Nov 132017
 

SmallHD has released a firmware update they are calling their biggest yet. OS3 is available for all current SmallHD monitors, sporting advanced false color and waveform functionality, as well as much need auto calibration.

The above video gives you a nice little run down of SmallHD firmware update OS3.

SmallHD has focused on updating their false color and waveform exposure tools to make them much more customizable.

Customizable False Color

Previous to this update, the false color feature on SmallHD monitors was fairly standard – the image displayed was broken down into color shades that stretched a gradient from 0-100%.

Now, you can select specific IRE values (up to 10 different ranges) and assign them different colors.

How does this help? Primitive false color is one thing, but having the ability to really home in on certain IRE values is a step further in advanced exposure assistance.

You can set a certain level of IRE values that you know is good for skin tones, or set a low and/or high end cap on edge range values to ensure you don’t under or over expose.

It can be really good for greenscreen and cyc work also, as well as keeping track of exposure tones for long-term projects.

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Sony a7R III Announced Along Sony 24-105mm f4 and 400m f2.8

 Gear  Comments Off on Sony a7R III Announced Along Sony 24-105mm f4 and 400m f2.8
Oct 262017
 

Today is a Sony announcement day that sees the unveiling of the Sony a7R III and 24-105mm f4 zoom, and the announcement of an upcoming 400m f2.8 G Master lens.

Sony a7R III

The wait is over: Sony has finally unveiled the first in the new generation of the A7 series. As always, the Sony a7R III comes at the vanguard of the new announcements – ahead of the A7 and S models – and this time brings a host of improvements to existing features and a few new surprises.

As expected, the new Sony a7R III brings a high pixel-count sensor, with its 42.4MP of resolution once again making this the model aimed primarily at professional stills photographers. The camera’s back-illuminated Exmor R and BIONZ X processor make this model capable of capturing 10 still frames per second, for a buffer of 76 continuous compressed RAW or JPEG images. ISO is available from 100-32000, and Sony claims that noise has been reduced by up to a full stop.

All of this with the advanced autofocus capabilities we have come to expect from this line’s R model, thanks to its 399 phase-detection AF points across 68% of the image, in addition to 425 contrast-detection points. Sony also claims that the camera’s Eye AF performance has been improved when the subject is moving, backlit or looking down.

What about video?

Just like with the II, the new Sony a7R III is capable of recording internal 4K in both full-frame and Super 35mm modes. As you may remember from some of our camera tests of the previous generation, the A7R II offered a better 4K image in crop mode, so it remains to be seen whether this will still be the case with the a7R III (take a look at some comparisons here, and our review here). It’s worth mentioning that the camera also supports proxy recording for easier editing of high-resolution videos, particularly useful when dealing with the relatively processor-intensive XAVC codec. Additionally, one of the biggest improvements to the video capabilities of the camera is the ability to achieve an increased resolution of 5K in Super 35mm mode thanks to an oversampling of a 15MP section of the sensor.

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Pre-Order:

Sony a7R III Mirrorless Digital Camera Body

Sony FE 24-105mm f/4 G OSS E-Mount NEX Camera Lens

DJI AeroScope is Designed to Track Down Your Drone While Airborne

 Gear  Comments Off on DJI AeroScope is Designed to Track Down Your Drone While Airborne
Oct 262017
 

DJI has unveiled a new tool designed to increase safety and security in a world of crowded air space. AeroScope can identify and track any DJI drone by using the existing link between the drone itself and the controller on the ground. A bold move, you might think. Certainly, but also a necessary one!

Security is always an issue, and it’s always about keeping a balance. Surveillance, incapacitation and big brother authorities on the one hand, privacy and freedom on the other.

Photograph credit: Bertrand Bouchez | unsplash.com

We need regulation for the increasing air traffic caused by affordable drones, sure. But we also need to avoid a surveillance state in order to enforce these regulations. In comes DJI AeroScope, a tool which tries to satisfy both sides.

DJI AeroScope

This upcoming technology won’t be available for everybody. It’s designed to be used by authorized parties like police or aviation authorities only. AeroScope has been installed at two international airports since April, and DJI is continuing to test the system in other environments.

Basically AeroScope is a receiver that can detect any drones within its range once that drone is powered on. Before it’s even airborne, AeroScope can already know its location and its unique registration number, which relates it directly to its registered owner.

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LG’s V30 Smartphone: 10-bit color, LG Cine-Log Video in a Phone?

 Cinematography, Gear  Comments Off on LG’s V30 Smartphone: 10-bit color, LG Cine-Log Video in a Phone?
Oct 162017
 

Move over Apple, there’s a new kid in town. The LG V30 takes mobile video to new heights with a 10-bit HDR Image Sensor and LG Cine-Log gamma.

In case you didn’t catch that: the LG V30 promises to record 4K video at 10-bit color depth with log gamma encoding. Before getting too excited about this, it is important to separate fact from fiction, and cinema5D will do exactly this with the LG V30 after some thorough tests, the results of which you can expect in a subsequent article.

Meanwhile, check out Parker Walbeck’s LG V30 vs RED Weapon video on his YouTube channel Fulltime Filmmaker:

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Fast and Affordable Mitakon Creator Primes Now Available for E-Mount

 Gear  Comments Off on Fast and Affordable Mitakon Creator Primes Now Available for E-Mount
Oct 162017
 

Lens manufacturer Zhongyi has expanded the Mitakon Creator line-up, with the 35mm f/2 and 85mm f/2 now available for Sony E-mount.

Zhongyi Optics is a lens manufacturer out of China that specialises in affordable fast glass and lens adapters under the Mitakon banner, which includes the Speedmaster series of primes and the Lens Turbo focal reducer – think of it as a Speed Booster without electronic contacts, but which has proven popular with beginner filmmakers due to its low cost and good compatibility with manual cine-style lenses like the Rokinons.

Their Mitakon Creator line of fully-manual primes consists of a 35mm f/2, an 85mm f/2 and a 135mm f/2.8, and had until now been available in Sony A, Canon EF, Pentax K, and Nikon F mounts. Now, the Mitakon Creator series is expanding, offering both the 35mm and the 85mm also in Sony E-mount.

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PolarPro FiftyFifty Review – A New Way to Compose Your Watersport Shots

 Gear  Comments Off on PolarPro FiftyFifty Review – A New Way to Compose Your Watersport Shots
Oct 162017
 

The PolarPro FiftyFifty is the latest gadget for the GoPro HERO 5: a dome for split shots over and underwater. Read on for sample footage and my impressions.

Having used GoPro gear for the last few years, I am constantly amazed by the evolution of the cameras and their accessories. I recently got my hands on the PolarPro FiftyFifty, a dome shaped-accessory that allows you to achieve shots above and below the water surface simultaneously.

Now you may ask, why would I need a dome? Couldn’t I just hold the GoPro half way over and under water? There are two reasons why this isn’t a good idea. First, the GoPro’s tiny lens makes it difficult to accurately hit that half/half position. Secondly, there’s the small detail of physics blurring your image: the surface tension of the water, in addition to the air and plastic front lens creates a contact angle with a water surface curvature, acting like an optical element. If this happens directly on your front lens, it blurs a lot of your recorded image. However, if this phenomenon happens further away – hence the dome – then it occupies only a small portion of the image, and you get a clear split shot.

The PolarPro FiftyFifty

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Panasonic GH5 Cage Review & Shootout – Zacuto vs. Movcam vs. Came-TV

 Cinematography, Gear  Comments Off on Panasonic GH5 Cage Review & Shootout – Zacuto vs. Movcam vs. Came-TV
Oct 022017
 

We put three camera cages for the Panasonic GH5 head to head for an in-depth look, review and comparison. Came-TV, Movcam, Zacuto… Let’s see which one comes out on top on this GH5 Cage Shootout!

To use the full potential of any camera, it is crucial to find the right cage on order to mount whatever third-party accessories you may need. That said, cages don’t just add several mounting threads and cold shoes, they also improve protection of the camera body, usually add better grips and handles, and protect the HDMI connector and other ports.

In the case of the Panasonic GH5, there is now wide variety of compatible cages, and the quality differences are quite significant. For this comparison, we received three popular cages for testing, but please note that this is not an exhaustive list of Panasonic GH5 cages.

Structure of Each Review:

  • Ease of assembly and disassembly.
  • How securely is the camera attached to the cage?
  • HDMI cable protector design.
  • Do we have access to the side outputs, slots and all the buttons?
  • Is it possible to use the Panasonic XLR adapter?
  • How good is the included Rod Support?
  • Quality of the Metabones Mount.
  • The top-handle design.
  • Overall ergonomics.
  • Conclusion.

At the very end of the article I’ll summarize the main pros and cons of each cage and announce our veredict. Please note that no cage is perfect and it’s up to each user to decide which cage better fits their needs and preferences.

Came-TV

Came-TV has the simpliest design out of all three tested cages. It does not feature HDMI support, but has many threads and offers a rod support piece. How well did it perform?

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Phantom Flex VEO 4K-PL Exclusive Hands-On

 Cinematography, Gear  Comments Off on Phantom Flex VEO 4K-PL Exclusive Hands-On
Oct 022017
 

Vision Research has recently introduced a new Phantom VEO 4K-PL, which like its older brother Phantom Flex 4K, can shoot up to 1000fps at full 4K DCI resolution, but in a smaller and more compact body.

What is the Phantom VEO line?

They say that when you touch a Phantom camera you go straight to heaven. At least that’s how I feel. Vision Research is a company that started out with high-speed cameras for military testing and analysing car-crash impacts, only to later turn its eye to the film industry with its revolutionary tech. In 2014, Vision Research introduced the mind-blowing Phantom Flex 4K camera, capable of 1000 frames-per-second at full 4K DCI resolution, in what many would consider the best quality 4K RAW compared to RED and even ARRI. Last year, Vision Research introduced the VEO line, a more compact version of their film industry cameras that continue the trend set by the ARRI Mini and RED – that smaller is better. Less weight and a more compact design mean more possibilities, such as the use of stabilisation platforms and even UAV. In comparison, the Phantom Flex 4K body weighs an incredible 5kg without ANYTHING on it. Add a lens, follow focus, rods, viewfinder, batteries, monitor and you can easily accumulate a weight that not many gimbals can handle.

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This Zunow Cine Wide Attachment CWA-114 Promises High-End Performance on Cine Zooms

 Cinematography, Gear  Comments Off on This Zunow Cine Wide Attachment CWA-114 Promises High-End Performance on Cine Zooms
Sep 242017
 

The Zunow Cine Wide Attachment is the latest by the optics converter manufacturer. It promises x0.75 conversion with minimal light loss.

Zunow is known for its wide-angle converters, such as the DWA-075 for DSLR lenses or the WCX-100 for 4K zooms. The latest offering from Zunow is the CWA-114, an attachment specifically made with larger-diameter cinema lenses in mind.

Zunow Cine Wide Attachment: The CWA-114

The Zunow Cine Wide Attachment makes the focal length of your wide-angle cinema lens 0.75x larger through a 130mm front element that offers a minimal distortion of 1%, an almost maximum light transmission of 97% and 4K coating for maximum resolution from corner to corner. It aims to quickly offer a wide-angle option without the need to change lenses.

But what does this mean in numbers? Some of the examples provided by Zunow include:

  • FUJINON 20-120mm T3.5, which becomes a 15-75mm T3.6.
  • Canon 17-120mm T2.95-3.9, which becomes a 14-75mm T3.0-4.0 (with vignetting at 12.75-14mm).
  • ZEISS 21-100mm T2.9-3.9, which becomes a 15.75-75mm T3.0-4.0.

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A Look at Blackmagic’s URSA Mini Pro Mirrored SSD Recorder Add-On

 Cinematography, Gear  Comments Off on A Look at Blackmagic’s URSA Mini Pro Mirrored SSD Recorder Add-On
Sep 212017
 
 URSA Mini Pro Mirrored SSD Recorder

Blackmagic Design has listened to customer requests and developed an SSD recorder for the URSA Mini Pro, which was announced earlier this year. This allows users to to get fast recordings on to larger-capacity media. It attaches to the rear of the URSA Mini Pro and enables you to mirror recordings in the same codec and format that is recorded internally.

The URSA Mini Pro Mirrored SSD Recorder connects via 2 SDI cables to the camera. However Tim tells us that it records the files as original data in the chosen format and not via an SDI stream.

For productions that require multiple sets of rushes, such as for sending to archive or a post-production facility, the new URSA Mini Pro mirrored SSD recording capability allows for a much faster workflow than needing to create copies of sometimes very large files or long video clips.

The choice of using SSDs was due to the low cost and wide availability of the medium. The SSD recorder works in the same way as the Blackmagic Design Hyperdeck, and recommends the same high-speed drives to use in the recorder. It mounts directly onto the camera, and is designed to be used exclusively with the URSA Mini Pro.

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The New Cmotion cPRO Wireless Hand Unit Offers Ultimate Focus Control

 Gear  Comments Off on The New Cmotion cPRO Wireless Hand Unit Offers Ultimate Focus Control
Sep 212017
 

We took a look at the new Cmotion cPRO lens controller, a feature packed, professional hand unit for professional focus assistance with Camin integration.

We saw a very interesting and affordable low end wireless focus control solution with Tilta’s new $399 Nucleus-N yesterday. Today we’re looking at state of the art high end stuff. Here’s what Cmotion had in store during IBC 2017.

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Sony Unveils 3 New 1-inch Sensor Camcorders – AX700, NX80 & Z90

 Cinematography, Gear  Comments Off on Sony Unveils 3 New 1-inch Sensor Camcorders – AX700, NX80 & Z90
Sep 172017
 

Sony has just announced three new 4K HDR (3840×2160) palm-sized camcorders during IBC 2017 in Amsterdam: the XDCAM PXW-Z90, the NXCAM HXR-NX80 and the Handycam FDR-AX700 with an improved AF system.

The new camcorders have a Sony 1-inch stacked Exmor RS CMOS image sensor, and all three support an instant HDR (High Dynamic Range) workflow with HLG (Hybrid Log-Gamma). According to Sony, the most exciting thing about these new camcorders will be the fast Hybrid Autofocus system.

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Olympus E-M10 III – Sample Footage and Exclusive First Impressions

 Gear  Comments Off on Olympus E-M10 III – Sample Footage and Exclusive First Impressions
Sep 062017
 

Johnnie had a chance to be one of the first to get his hands on the new Olympus E-M10 III and test its video capabilities.

Finally, a short family summer vacation. It is time to pack, leave work behind and slow down to the point that only the necessary body organs are working (brain excluded). But wait, whom am I kidding? The courier just rang the door bell, bringing a small package containing the shiny new Olympus E-M10 III. Now, as a workaholic, my options are limited: cancel my vacation and risk an immediate divorce, or pack my production bag and search for a story to shoot while on vacation. Knowing from past experience that mixing a family activity and work is a bad idea, I decided to leave behind my ambitions of a big production and scale everything down to the minimum. My simple tourist setup consisted of this small new Micro Four Thirds camera, the extremely cheap Olympus M.Zuiko Digital ED 14-42mm f/3.5-5.6 EZ pancake kit lens and my trusted Heliopan Vari ND filter. THAT’S IT – no tripod, no slider, no gimbal, just pure simplicity. And enough to be reassured that there is no substitute for having fun when filming with a small camera, no matter how good its bigger brothers may perform.

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